Tradition And Transformation: Studies in Chinese Art in Honor of Chu-tsing Li
by Smith, Judith G.; Li, Chu-Tsing; Stokstad, MarilynFormat: Hardcover
Pub. Date: 2005-12-30
Publisher(s): Univ of Washington Pr
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Summary
Tradition and Transformation commemorates Chu-Tsing Li's achievements as an educator and scholar with essays by friends and former students, marking his long teaching career at the University of Kansas and, in particular, his contribution to the field of Asian studies. The topics of the essays range from early Chinese art history to contemporary Chinese art.When Chu-tsing Li arrived at the University of Kansas in 1966, it was with a mission: to establish the University as the leader in the Midwest, and eventually one of the important centres in the United States, for the study of Asian art. By the end of his teaching career in 1990, the program in Asian art had produced specialists in Chinese, Japanese, and Korean art and had trained and inspired numerous doctoral students, many of whom have gone on to become established scholars in their own right. In 1978 Dr. Li became the first Judith Harris Murphy Distinguished Professor of Art History at the University of Kansas.
Table of Contents
| An Appreciation of Chu-tsing Li | p. 9 |
| A Personal View | p. 11 |
| Acknowledgments | p. 13 |
| Contributors | p. 14 |
| Selected Bibliography of Chu-tsing Li | p. 16 |
| Liao Painting and the Northern Grasslands School | p. 27 |
| The Search for Zhao Bosu | p. 57 |
| Song Mimesis and Beyond | p. 85 |
| The Emergence and Ideology of the Three Laughers and Its Derivative, the Two Laughers | p. 111 |
| A Landscape Painting and Its Literary Sources: Taigu Yimin's Traveling Among Streams and Mountains | p. 137 |
| Allegories, Metaphors, and Satires: Writing About Painting in the Early Yuan Dynasty | p. 163 |
| Chen Hongshou's Children Paying Homage to the Buddha: An Illustration to the Lotus Sutra | p. 175 |
| Ming Paintings of Xiang Furen from the Nine Songs | p. 189 |
| The Mirror in the Garden: Courtesans' Painting of the Late Ming Dynasty | p. 197 |
| Ming Dynasty Aesthetic Theory | p. 223 |
| Wang Duo's Assessment of Ni Zan: A Reappraisal | p. 237 |
| Real-Scenery Landscape Painting in China, Korea, and Japan in the Seventeenth and Eighteenth Century | p. 249 |
| Chain of Causation: Fang Shishu's The Autumn Colors on the Que and Hua Mountains after Zhao Mengfu and Dong Qichang | p. 281 |
| Painting and the Qing Court: Scholar-Artists, 1736-1850 | p. 305 |
| Returning to the Subject of Poetry as the Expression of Heartfelt Sentiments | p. 323 |
| Zhao Zhiqian and the Emergence of Self-Expression in Seal Carving | p. 333 |
| The Transformation in Jiangnan: A Glimpse of Chinese Art History in the Nineteenth and Early Twentieth Century | p. 347 |
| The Commodification of Chinese Painting and Calligraphy and Its Relationship to the Production of Forgeries | p. 359 |
| The Art of Pu Xinyu | p. 371 |
| The Inventor Wen-ying Tsai | p. 393 |
| A Century of Change in Chinese Art | p. 405 |
| A Case Study of Continuity in Buddhist Art: Origins of the Attack of Mara at Dunhuang | p. 411 |
| Dunhuang Cave 427: Evidence of Imperial Iconography | p. 433 |
| The Development of Illustrations to Buddhist Sutras in the Sui and Tang Periods | p. 445 |
| The Thousand-armed Avalokiteshvara in the Birmingham Museum of Art | p. 457 |
| Liu E and His Bronze Collection | p. 463 |
| Notes on Chinese Ceramics Excavated in Japan | p. 471 |
| Glossary | p. 495 |
| Table of Contents provided by Ingram. All Rights Reserved. |
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